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AbstractThe Covid-19 pandemic has fuelled indignation. People have been indignant about the breaking of lockdown rules, about the mistakes and deficiencies of government pandemic policies, about enforced mask-wearing, about vaccination programmes (or lack thereof), about lack of care with regards vulnerable individuals, and more. Indeed, indignation seems to have been particularly prevalent on social media platforms such as Twitter and Facebook, where indignant remarks are often accompanied by variations on the hashtag #WTF?! In this paper, I explore indignation's distinctive character as a form of moral anger, in particular suggesting that what is characteristic of indignation is not only that it discloses moral injustices but betrays our disbelief at the very occurrence of the offence. Having outlined the character of indignation, I consider how the structure of indignation impacts how we do, respond to, and receive indignation. I explore indignation in action, so to speak, in the context of Covid-19, with a particular emphasis on how indignation occurs 'on the internet'.

AbstractCritics have argued that human-controlled avatar interactions fail to facilitate the kinds of expressivity and social understanding afforded by our physical bodies. We identify three claims meant to justify the supposed expressive limits of avatar interactions compared to our physical interactions. First, "The Limited Expressivity Claim": avatars have a more limited expressive range than our physical bodies. Second, "The Inputted Expressivity Claim": any expressive avatarial behaviour must be deliberately inputted by the user. Third, "The Decoding Claim": users must infer or figure out the expressive meaning of human-controlled avatars' behaviour through cognitively onerous processes. With the aim of critically assessing all three claims, we analyze data collected through observations of and interviews with expert players of the avatar-based video game League of Legends. Focusing on Daniel Stern's (2010) notion of vitality, we analyze the participants' descriptions of seeing and interacting with other avatars during performance. Our analysis shows that the informants experience human-based avatarial interactions as qualitatively different than interactions with bots, that the informants see the movements of other players' avatars as having different expressive styles, and that the informants actively use and manipulate this avatarial expressivity during performance. The results of our analysis, we argue, provide reasons for loosening or resisting the three claims concerning the limits of avatarial expressivity.

In this paper, we introduce the Japanese philosopher Tetsurō Watsuji's phenomenology of aidagara ("betweenness") and use his analysis in the contemporary context of online space. We argue that Watsuji develops a prescient analysis anticipating modern technologically-mediated forms of expression and engagement. More precisely, we show that instead of adopting a traditional phenomenological focus on face-to-face interaction, Watsuji argues that communication technologies—which now include Internet-enabled technologies and spaces—are expressive vehicles enabling new forms of emotional expression, shared experiences, and modes of betweenness that would be otherwise inaccessible. Using Watsuji's phenomenological analysis, we argue that the Internet is not simply a sophisticated form of communication technology that expresses our subjective spatiality (although it is), but that it actually gives rise to new forms of subjective spatiality itself. We conclude with an exploration of how certain aspects of our online interconnections are hidden from lay users in ways that have significant political and ethical implications.